To organize the chaos in one's inner self, and to objectify it; to plunge into it, only in order to subsequently leave it behind, and then to plunge again - that was the teaching of Nietzsche's theory of Doppelblick, according to which one used to think, paint, write poetry, compose and simply live in Vienna at the turn of the century. More precisely, the present article deals with the influence of early works by Friedrich Nietzsche on Viennese artists of the late nineteenth and early twentieth century - and especially with his influence on Gustav Klimt. Traditional aesthetics was then challenged with the idea, that the art's and artist's main objective was to bring chaos to the world, to put the world upside down. It was Nietzsche who laid theoretical foundations to that thinking. Considerable part of Klimt's artistic output show that he had followed the philosopher's ideas and had put them to good use. And, more importantly, some of his works even give impression that Klimt in his paintings had anticipated certain ideas of the philosopher. Apart from the aesthetic attitude, present in nearly all his works, paradox, perversion and sickness appear in them, as if they were conceived as pictorial equivalents of Nietzsche's theoretical concepts.